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I've dabbled in symbology and color theory, but that's not 'magic', that's just imagery calling upon primal responses in the viewer. 

Sigil magic is different 

ddddddd said: 

Sigil magic is different 

Enlighten me? 

Wikipedia said:

The artist and occultist Austin Osman Spare developed his own unique method of creating and using sigils, which has had a huge effect on modern occultism. Essentially, Spare turned the Medieval practice of using sigils to evoke entities on its head, arguing that such supernatural beings were simply complexes in the unconscious, and could be actively created through the process of sigilization.[5][4]

The big difference with Spare's method was that he dispensed with pre-existing esoterica and external beliefs, so the sigils were no longer for controlling traditional demons, angels and what-have-you, but instead for controlling forces in the unconscious psyche of the individual operator.[4]

Spare's technique became a cornerstone of chaos magic.[6] It also influenced the artist Brion Gysin, who experimented with combining Spare's sigil method with the traditional form of magic squares:

Calligraphic magick squares were one of the techniques most commonly applied by Gysin. He would reduce a name or an idea to a "glyph" and then write across the paper from right to left, turn the paper and do the same again, and so on, turning the paper around and around to create a multi-dimensional grid... The same techniques and consciously driven functional intention also permeated his paintings. In a very real sense, everything he created was an act of sorcery.[7]

 In his writings there are different methods to create such sigils and techniques to 'load' them into your unconscious so that they work from there. 

Essentially, Spare turned the Medieval practice of using sigils to evoke entities on its head, arguing that such supernatural beings were simply complexes in the unconscious, and could be actively created through the process of sigilization.

The big difference with Spare's method was that he dispensed with pre-existing esoterica and external beliefs, so the sigils were no longer for controlling traditional demons, angels and what-have-you, but instead for controlling forces in the unconscious psyche of the individual operator.

This sounds exactly like what I was talking about. 

What about the stuff you didn't quote? 

Spare's technique became a cornerstone of chaos magic.

This is a subject that is covered heavily in graphic design (albeit under more conventional naming), and is related to what I wrote my college dissertation on to graduate with a bachelors. Effectively, chaos magic's room to work involves a few principles: 

A) It must adhere to the 'natual laws'. The symbols you pick must themselves conform with the unconscious stimulus you're aiming to have it elicit. If you were to draw a circle and try to represent it as 'danger' for example, it will not immediately record onto onlookers as a result. Elements of color theory can play into this, but this also applies to completely grayscale sigiling. For this, I recommend the book 'The Element Encyclopedia of Secret Signs and Symbols' by Adele Nozedar, a book that's a brief overview of tons of symbols with a contextual history written about them. There's very clear themes that can be extracted from generally looking over all of them to the point of replicating such findings yourself. 

B) Repetition strengthens associations. How it appeals to the viewer is one thing, but continued exposure to the same sigil will reinforce the intended effects. As such, if it's for yourself it'd pay to have some sort of fetish object or decal on your person so that you can conjure the mindset it elicits during it's intended times. For others, this works out better if you have a way of proliferating the symbol into as many locations as humanly possible, hence why it's typically utilized in advertising but otherwise has the room to be expressed with graffiti and other strategies. This can also apply to slogans, either with something like 'Got Milk?' to reinforce itself directly or with something like 'I'm loving it' to reinforce itself passively and associatively (while also giving room for these ideas to bleed into everyday speech). 

An illustration of chaos magic in action: 

ddddddd said: 

What about the stuff you didn't quote? 

Sure: 

The artist and occultist Austin Osman Spare developed his own unique method of creating and using sigils, which has had a huge effect on modern occultism. 

It also influenced the artist Brion Gysin, who experimented with combining Spare's sigil method with the traditional form of magic squares:

Calligraphic magick squares were one of the techniques most commonly applied by Gysin.

He would reduce a name or an idea to a "glyph" and then write across the paper from right to left, turn the paper and do the same again, and so on, turning the paper around and around to create a multi-dimensional grid...

The same techniques and consciously driven functional intention also permeated his paintings. In a very real sense, everything he created was an act of sorcery.

What about these portions did you want me to focus on?